My Top 10 of 2017

            Lets not beat around the bush; 2017 was a difficult year to be a cinema fan, in more ways than one. There were alarmingly few blockbusters that stood out this year, and for some reason it was harder than ever to find independent and foreign cinema that is worth a damn. Nevertheless, when a breakthrough ever occurs it was more than an insurmountable relief, it was an event. The best films of 2017 were like guiding lights in a sea of despair and bad taste. Even if this crop of films could not beat the high points of previous years—though not many can compete with Moonlight and Mad Max: Fury Road—the best of 2017 were revelatory, strange and exciting to watch. Anyone who felt unfulfilled by cinema this year needs to check these out, for they truly made 2017 worth all the trouble. But first some quick addendums; I am guilty of not seeing Good Time, Jane, Rat Film, Three Billboards Outside Ebbing Missouri, Mudbound, Personal Shopper and The Lost City of Z.  I did see Phantom Thread, Fantastic Woman and Paddington 2 but since I could not see these films until late into January I am considering these films as 2018 releases. So good luck, other films of 2018, you all got your work cut out for ya!

            Now, on to the actual list:

Some Highs and Lows of August

            As of two weeks ago I have started a new semester of college, which means I’m still adjusting to the demands between schoolwork and blogging. For now I’ll just focus on writing short and informal stuff and leaving longer essays for Blogathons and film/topics that inspire analysis. Still, I saved up some short reviews of the films I saw during August just to make up for the dead time.

Best Films of 2016 (so far)

            It is July, so it seemed appropriate to do a sort of midseason review of 2016 by showing my favorite films of the year so far. It seems a bit silly; this list will be dated by the end of the year, but since I rarely review contemporary films this will at least encapsulate my favorite viewing experiences during the first half of the year. Even if only a few or possibly none of these films make it on my top ten, they are still worthy of being seen.

The Martian

Comic Book Movies, French Style

            So it has come to my attention that comic book movies are all the rage during the summer. Heck, they are so popular that it is for these films are evolving into a multi-billion industry. Captain America: Civil War and Deadpool are undeniably fun films but I also enjoy the films that are made in reaction to said comic-book films. At the 2016 Florida Film Festival, I had the pleasure of watching two French animated films that play with the style and tone colorful of comic book adventures that provide nice alternative programming to the latest blockbusters.

Witnessing Immortan Joe and his War Boys on the Fury Road

            (Spoiler Warning: I don't usually state this since I try to at least dance around major plot points, but this was a case where that was not possible, my bad. For maximum reading pleasure, go see Mad Max: Fury Road first, let it scorch your mind, and then read this.)

Top Ten of 2015

            A top 10 list of 2015 in April 2016, how relevant! In my defense, I did state in my last Honorable Mentions article that this would be finished before the Oscars in 2017, so this article is technically early.  Anyway, 2015 was a wonderfully weird year for film.  Many of the best films this year ranged from commercial blockbusters that seemed doomed to disappoint to niche art films that were balked by those who glanced at their premises, only for these films to shock the medium in brilliant fashion.

            Before we begin here are quick disclaimers. Among the films I failed to see before the year ended: Creed, Room, Sicario, The Martian, 45 Years, and When Marnie Was There; for all I know, any of these films could have earned a spot on the list, which is why they deserve a mention. I did manage to see: Spotlight, Brooklyn, Anomalisa, The Forbidden Room, The Assassin and Embrace of the Serpent, which are all worth viewing, but if I continue with these damn honorable mentions this article will never be completed.

Now here I present my most eloquent Top 10 list of 2015.

2015 Honorable Mentions

            So as of right now I am working on a rough draft for my top ten of 2015, which will hopefully be published before the Oscar awards in 2017. Orlando is not a very film centric town, which makes it difficult to find many of the prestigious films before awards season. Even then, I am lucky to ever find certain foreign and independent films because distribution the demand for such films here are null. Ultimately in order for me to write a top ten with confidence, I need the time to watch as much as I can.

            Regardless, this has been a robust year for film. In fact were so many distinguished films that to leave one out seemed almost sacrilege.  So at the very the least, it seemed right to honor the best films that will not reach my personal list and hopefully explain why they are not on the shortlist.  It was either that or I lament about the Oscars, which no one wants to here. Now lets talk movies.

Mad Max: Fury Road

The Shapes and Lines of Outer Space

A key aspect in creating a unique aesthetic in film is to use lines and shapes to engage with the audience.  A prop or character can move in a specific direction within the frame to create a virtual track.  A cinematographer can compose their shots to have a motif; the frame can be linear and square or diagonal to provide an unusual motif.  A filmmaker can even add certain shapes like spheres or cubes to add dimension to the frame.  These are simple yet malleable techniques to use that allow for filmmakers to make films of with a potentially limited aesthetic like realistic science fiction look unique.  Even though films such as 2001: A Space Odyssey and Gravity are of the same genre; they look and feel drastically different because their directors use these techniques in unique ways.

When one must explain how these techniques work it important understand the idea or motive behind each film.  2001: A Space Odyssey is a psychedelic art film about the seemingly infinite possibilities of space travel.  Gravity is a thrilling drama about the horrifyingly real risks of simply orbiting around Earth. Both films rely on special effects but their creators had to use techniques involving lines, angles, and shapes in order to make a unique perspective on the frightening yet wondrous unknown of outer space.